All India Radio: Sambalpur ********* No.Sbp/2(6)/P—Ii /2020

Total Page:16

File Type:pdf, Size:1020Kb

All India Radio: Sambalpur ********* No.Sbp/2(6)/P—Ii /2020 . BY SPEED POST PRASAR BHARATI (INDIA”S PUBLIC SERVICE BROADCASTER) ALL INDIA RADIO: SAMBALPUR ********* NO.SBP/2(6)/P—II /2020 DATE : 02.03. 2020 The Director General (Kind Attention: - Section Officer, P-II) All India Radio, Akashvani Bhawan, Parliament Street, New Delhi—110001. Subject—Annual list of Casual /staff Music artist as on 01/01/2020 Sir, Enclosed, please find 02 (Two) copies of the Annual list of Casual Artist/Staff Artist, Music Artists (classical Music//light Music/ Folk parties/Tribal parties etc. of this station as on 01/01/2020. .A copy of this list is being sent to the Director, External Services Division, Television Centre, Transcription & Programme exchange Service, All India Radio, New Delhi and the heads of all stations of All India Radio & Doordarshan Kendra located in Odisha for kind information (SANTOSH PING) PROGRAMME EXECUTIVE FOR HEAD OF PROGRAMME Encl:- As above Copy along with a copy of the Artists List is forwarded to:-- 01. The Addl. Director General-P(ER), All India Radio, Akashvani Bhawan, Eden Garden, Kolkata-700001. 02. The Director External Service Division.) All India Radio, Akashvani Bhawan, Sansad Marg, New Delhi- 110001. 03. The Director, Transcription & Programme Exchange Services, All India Radio, Akashvani Bhawan, Sansad Marg, New Delhi-110001. 04. The Director, Prasar Bharati (Indfia’s Public Service Broadcaster) Doordarshan Kendra, Bhubaneswar, Po/Sainik School Bhubaneswar, Oddisha. 05. The Director, Prasar Bharati (India’s Public Service Broadcaster) Doordarshan Kendra, Sambalpur/Bhawanipatna/Odisha. 06. The Station Director, All India Radio,Cuttack/Jeypore (K)/Bhawanipatna/Bolangir/Rourkela/Keonjhar/ Behampur/Joranda/Puri/CBS, Cuttack, Odisha. 07 Head of Programme, The Programme Executive(CO)/Programme Executive(M)/AO/Accountant(2) copies/Music composers/Duty Room/Lib. & Information Asst./PSY, AIR, Sambalpur. (SANTOSH PING) PROGRAMME EXECUTIVE FOR HEAD OF PROGRAMME PROFORMA—I PRASAR BHARATI (INDIA’S PUBLIC SERVICE BROADCASTER) ALL INDIA RADIO: SAMBALPUR ********* ANNUAL LIST OF CASUAL/STAFF MUSIC ARTISTS AS ON 01/01/2020 ABSTRACT OF THE LIST OF MUSIC ARTIST ----------------------------------------------------------------------------------------------------------------------------------- CATEGORY TOP A BH B TOTAL GRADE GRADE GRADE GRADE ----------------------------------------------------------------------------------------------------------------------------------- CLASSICAL VOCAL (CASUAL) -- 02 -- 02 CLASSICAL INSTRUMENTAL (CASUAL) -- 01 02 03 CLASSICAL INTRUMENTAL (STAFF) -- -- -- -- LIGHT INSTRUMENTAL (STAFF) -- -- -- -- MUSIC COMPOSER (STAFF) -- 01 -- 01 MUSIC COMPOSER CASUAL (LM) 01-- 01 09 -- 11 MUSIC COMPOSER CASUAL FOLK MUSIC-- 07 -- 07 LIGHT MUSIC (VOCAL) CASUAL 06 34 33 73 LIGHT MUSIC (INSTRUMENTAL) CASUAL 01 26 35 62 SAMBALPURI MUSIC (VOCAL) 03 38 29 70 SAMBALPURI MUSIC (INSTRUMENTAL) -- 19 12 31 CASUAL FOLK MUSIC (PARTY) -- 12 45 57 FOLK DANCE PARTY -- 10 -- 10 TRIBAL PARTY -- 02 03 05 ------------------------------------------------------------------------------------------------------------------------ TOTAL - 01 11 161 159 332 ------------------------------------------------------------------------------------------------------------------------ P—1 PROFORMA—II PRASAR BHARATI (INDIA’S PUBLIC SERVICE BROADCASTER) ALL INDIA RADIO: SAMBALPUR ********* ANNUAL LIST OF MUSIC ARTISTS CASUAL/STAFF AS ON 01/01/2020 LIST OF CASUAL MUSIC COMPOSERS—( FOLK MUSIC/LIGHT MUSIC) SL NAME OF TYPE OF DATE OF GRADE FEE LAST DATE OF PRESET NO ARTIST MUSIC AUDITION PERFORMACE IN PERFORMANCE A.S.S./N.P.M. IN QUALITY RESPECT OF ‘A’ & TOP GRADE RTISTS 01 02 03 04 05 06 07 08 01 ARUN SETH FOLK MUSIC 01-05-1991 GR- II CGGG -- 02 DEBASISH PADHI LIGHT MUSIC 11.01.2019 GR – II CGGG - 03 DOLAGOBINDA GARDIA LIGHT MUSIC 11.01.2019 GR – II CGGG - 04 PRADEEP GURUWARA LIGHT. MUSIC 28-05-1998 GR-II CGGG -- 05 SHANKAR PRASAD LIGHT MUSIC 01.09.2016 GR-I SUGG -- PRADHAN 06 PRAGALVA MOHANTY- LIGHT MUSIC 28-05-1998 GR-II CGGG -- 07 RAMESH SUNA - FOLK MUSIC 21.03.2013 GR-II CGGG -- 08 SRIRAM LUHURA - FOLK MUSIC 21.03.2013 GR-II CGGG -- 09 GANGADHAR DASH- FOLK MUSIC 22.03.2013 GR-II CGGG -- 10 GOPAL CHARAN NAYAK - LIGHT MUSIC - 11.01.2019 GR – II CGGG - 11 NISAR AHMED NISAR- LIGHT MUSIC 20.03.2013 GR-II CGGG -- 12 ALOK PRASAD DAS- LIGHT MUSIC 20.03.2013 GR-II CGGG -- 13 RAMESH MAHANANDA- LIGHT MUSIC 21.03.2013 GR-II CGGG -- 14 RATAN KUMAR PUJAHARI- FOLK MUSIC 21.03.2013 GR-II CGGG --- LIGHT MUSIC 11.01.2019 GR – II CGGG - 15 SUSHANTA KUMAR BAREI- FOLK MUSIC – 15.12.2014 GR – II CGGG -- 16 PRAFULLA KUMAR MITRA-LIGHT MUSIC -25.01 2016 TOP GR. PPGGG -- 17 PRAFULLA KUMAR MITRA –FOLK MUSIC- 12.06.2015 GR II CGGG --- LIST OF ARTISTS EMPLOYED AT ALL INDIA RADIO, SAMBALPUR SL NAME OF ARTIST DATE OF APPOINTMENT VOCAL/INTRUMENTAL/ TYPE GRADE NO MUSIC COMPOSER 01. BIJAY KUMAR BEHERA 20-11-1998 MUSIC COMPOSER LIGHT MUSIC – GR - II FOLK MUSIC - GR- II-WEF-11.06.2015 P—2 ANNUAL LIST OF MUSIC ARTISTS (STAFF/CASUAL) AS ON 01-01-2020 SL NAME OF ARTIST TYPE OF MUSIC DATE OF DATE OF GRADE FEE NO AUDITION RESCREENING 01 02 03 04 05 06 07 LIST OF CLASSICAL MUSIC (VOCAL)— B GRADE ARTISTS ---------------------------------------NIL -------------------------------------------- LIST OF CLASSICAL MUSIC (VOCAL)—B HIGH GRADE ARTIST 01. B.BUDDHA PRASAD RAO KHAYAL 29-12-1993 BH RGGG 02. MEGHNA KUMAR KHAYAL 27.04.2016 BH RGGG LIST OF CLASSICAL MUSIC (VOCAL) –A GRADE ARTIST ----------------------N I L---------------------------------------------------- LIST OF CLASSICAL MUSIC (INSTRUMENTAL)—‘ B’ GRADE ARTIST 01 PRANA PRAKASH DASH TABLA 12.03.2019 B PSGG 02 SHATAMANYU MISHRA FLUTE 15.02.2019 B PSGG LIST OF CLASSICAL MUSIC(INSTRUMENTAL)—‘ B’ HIGH GRADE ARTIST 01. RAJAT KUMAR BEHERA TABLA 29-10-1998 BH RGGG LIST OF CLASSICAL MUSIC (INSTRUMENTAL) — ‘ A’ GRADR ARTIST NIL The fee in respect of Instrumentalists indicated above when booked as accompanist for a day will be PUGG, PCHG, and PAGG for B, BH & A GRADE respectively. LIST OF LIGHT MUSIC (VOCAL) –‘ B’ GRADE ARTIST SL NAME OF ARTIST TYPE OF MUSIC DATE OF GRADE FEE NO AUDITION 01 02 03 04 05 06 01 AKASH KUMAR PAGAD BHAJAN, JANANA 10.05.2018 B PSGG 02 ANASUYA RATH BHAJAN, CHAMPU 27/05/2019 B PSGG CHHANDA RETAINAINED UPTO – 23.03.2022 03 ANUPAMA POTHALA ODISSI, BHAJANA, JANANA 16.03.2015 B PSGG 04 BHAGABANA DASH BHAJAN 29.09.2015 B PSGG 05 BIDYA SATAPATHY ADHUNIK 29.09.2015 B PSGG BHAJAN, JANANA 10.05.2018 B PSGG 06 BIJAY KUMAR BEHERA ADHUNIK 11.05.2018 B PSGG 07 CHETANAMAYEE BEHERA BHAJAN JANAN, ADHUNIK 07.05.2018 B PSGG 08 DEBADUTTA PATTNAIK BHAJAN, JANANA 27.05.2019 B PSGG RETAINAINED UPTO – 19.08.2023 P—3 SL NAME OF ARTIST TYPE OF MUSIC DATE OF GRADE FEE NO AUDITION 01 02 03 04 05 06 09 DOLAGOVINDA GARDIA BHAJAN, JANANA 10.05.2018 B PSGG 10 JYOTSNARANI MUDALI BHAJAN, JANANA 08.05.2018 B PSGG 11 KAMALAKANTA ROUT BHAJAN, ADHUNIK 10.05.2018 B PSGG 12 KIRTI BAGARTI BHAJAN JANANA 27.05.2019 B PSGG ADHUNIK RETAINAINED UPTO – 22.08.2023 13 LIPIKA BIBHAR HINDIBHAJAN 11.05.2018 B PSGG 14 MRIDULA GHOSH BHAJAN, JANAN, ADHUNIK 07.05.2018 B PSGG 15 NAMITA JENA BHAJAN ODISI 27.05.2019 B PSGG RETAINAINED UPTO – 22.08.2023 16 PARASAKTI SUBHADRIKA BHAJAN, JANAN 23/03/2012 B PSGG RETAINAINED UPTO – 22.03.2022 17 PRANATI DASH JANANA, BHAJANA, ADHUNIK 10.05.2018 B PSGG 18 PRATIVA RANI BHUE BHAJAN JANAN 27.05.2019 B PSGG PALLI, ADHUNIK RETAINAINED UPTO – 19.08.2023 19 PUNAM MOHANTY BHAJAN & ADHUNIK 27.05.2019 B PSGG RETAINAINED UPTO – 19.08.2023 20 RAJAT SHARMA HINDI GEET & BHAJAN 09.05.2018 B PSGG 21 RASHMI RANJAN BISWAL BHAJAN, JANANA, 16.03.2015 B PSGG ADHUNIK, CHHANDA, ODISSI 22 RASMITA JENA CHHANDA & CHAMPU 27.05.2019 B PSGG RETAINAINED UPTO – 23.06.2024 ODISSI, BHAJANA, JANANA 16.03.2015 B PSGG 23 SABITRI BHOI BHAJAN 10.05.2018 B PSGG 24 SANTOSH KUMAR MISHRA BHAJAN & JANANA 27.05.2019 B PSGG RETAINAINED UPTO – 24.06.2024 25 SATYAPRIYA MOHAPATRA CHHANDA, BHAJAN, ODISSI 27.05.2019 B PSGG CHAMPU & PALLI RETAINAINED UPTO – 20.08.2023 26 SHIBANANDA TRIPATHY ODISSI, CHAMPU, CHHANDA 07.05.2018 B PSGG 27 SOMYA RANJAN DASH BHAJAN, JANANA, ADHUNIK 17-03-2015 B PSGG 28 SOUMYAJIT SOUMITRI BARPANDA- JANANA, BHAJANA 08.05.2018 B PSGG ADHUNIK 29 SARAT DIP JANANA, BHAJANA 10.05.2018 B PSGG ADHUNIK, PALI 30 SUDHARMA DASH BHAJAN & CHHANDA 28.05.2019 B PSGG RETAINAINED UPTO – 24.06.2024 31 SRIKHETRA SUNDAR ADHUNIKA, PALLI 16.03.2015/07.05.2018 B PSGG ODISSI, CHAMPU BHAJANA JANANA – RETAINED UPTO 22.03.2022 P—4 SL NAME OF ARTIST TYPE OF MUSIC DATE OF GRADE FEE NO AUDITION 01 02 03 04 05 06 32 SWAGAT MOHAPATRA BHAJAN JANANA 27.05.2019 B PSGG RETAINAINED UPTO – 22.08.2023 33 SWAPAN KUMAR DHALI BHAJAN JANAN ADHUNIK 27.05.2019 B PSGG RETAINAINED UPTO – 20.08.2023 LIST OF LIGHT VOCAL “B” HIGH GRADE ARTIST SL NAME OF ARTIST TYPE OF MUSIC DATE OF GRADE FEE NO AUDITION 01 02 03 04 05 06 01 ABHIPSA NAYAK BHAJAN, JANANA 28.05.2019 BH RGGG 02 AMIT KUMAR DASH ADHUNIK, BHAJAN 08/05/2018 BH RGGG 03 ANITA PATI BHAJAN, ADHUNIK 01-06-2000 BH RGGG 04 ANUPAMA POTHALA CHHANDA & CHAMPU 27.05.2019 BH RGGG 05 ASHALATA SARANGI JANAN, ADHUNIK, 06-05-1991 BH RGGG PALLI, ODISSI 06 BASANTA KUMAR MOHARANA ODISSI, CHHANDA, 27.05.2019 BH RGGG 07 BIJAYALAXMI RATH BHAJAN, CHAMPU, 07/05/2018 BH RGGG CHHANDA, ODISI, ADHUNIK 08 BINAPANI RATH ODISI, JAJAN, CHAMPU, 31-05-2000 BH RGGG 09 B.BUDDHA PRASAD RAO PATRIOTIC 08.05.2018 BH RGGG HINDI BHAJAN 27.05.2019 BH RGGG 10 B.PUSPANJALI BHAJAN, JANAN, ADHUNIK 08.05.2018 BH RGGG CHHANDA, ODISSI, CHAMPU HINDI BHAJAN 27.05.2019 BH RGGG 11 DEBENDRA KAR BHAJAN, JANANA, ADHUNIK 27.05.2019 BH RGGG 12 DEEPASIKHA MISHRA
Recommended publications
  • A Critical Analysis of Narrative Art on Baranagar Temple Facades
    Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Special Conference Issue (Vol. 12, No. 5, 2020. 1-18) from 1st Rupkatha International Open Conference on Recent Advances in Interdisciplinary Humanities (rioc.rupkatha.com) Full Text: http://rupkatha.com/V12/n5/rioc1s16n2.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v12n5.rioc1s16n2 Unraveling the Social Position of Women in Late-Medieval Bengal: A Critical Analysis of Narrative Art on Baranagar Temple Facades Bikas Karmakar1 & Ila Gupta2 1Assistant Professor, Government College of Art & Craft Calcutta [email protected] 2Former Professor, Department of Architecture & Planning, IIT Roorkee [email protected] Abstract The genesis of the present study can be traced to an aspiration to work on the narratives of religious architecture. The Terracotta Temples of Baranagar in Murshidabad, West Bengal offer a very insightful vantage point in this regard. The elaborate works of terracotta on the facades of these temples patronized by Rani Bhabani during the mid-eighteenth century possess immense narrative potential to reconstruct the history of the area in the given time period. The portrayals on various facets of society, environment, culture, religion, mythology, and space and communication systems make these temples exemplary representatives for studying narrative art. While a significant portion of the temple facades depicts gods, goddesses, and mythological stories, the on-spot study also found a substantial number of plaques observed mainly on the base friezes representing the engagement of women in various mundane activities. This study explores the narrative intentions of such portrayals. The depictions incorporated are validated with various types of archival evidence facilitating cross-corroboration of the sources.
    [Show full text]
  • Hindu Music in Bangkok: the Om Uma Devi Shiva Band
    Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok: The Om Uma Devi Shiva Band Kumkom Pornprasit+ (Thailand) Abstract This research focuses on the Om Uma Devi Shiva, a Hindu band in Bangkok, which was founded by a group of acquainted Hindu Indian musicians living in Thailand. The band of seven musicians earns a living by performing ritual music in Bangkok and other provinces. Ram Kumar acts as the band’s manager, instructor and song composer. The instruments utilized in the band are the dholak drum, tabla drum, harmonium and cymbals. The members of Om Uma Devi Shiva band learned their musical knowledge from their ancestors along with music gurus in India. In order to pass on this knowledge to future generations they have set up music courses for both Indian and Thai youths. The Om Uma Devi Shiva band is an example of how to maintain and present one’s original cultural identity in a new social context. Keywords: Hindu Music, Om Uma Devi Shiva Band, Hindu Indian, Bangkok Music + Kumkom Pornprasit, Professor, Faculty of Fine and Applied Arts, Chulalongkorn University, Thailand. email: [email protected]. Received 6/3/21 – Revised 6/5/21 – Accepted 6/6/21 Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok… | 218 Introduction Bangkok is a metropolitan area in which people of different ethnic groups live together, weaving together their diverse ways of life. Hindu Indians, considered an important ethnic minority in Bangkok, came to settle in Bangkok during the late 18 century A.D. to early 19 century A.D.
    [Show full text]
  • Folk Dance: a Distinctive Performing Art Tradition of Odisha
    FOLK DANCE: A DISTINCTIVE PERFORMING ART TRADITION OF ODISHA MANMATH PADHY Professor (Dr.) Vice Chancellor, Khallikote University, Berhampur, Ganjam, Odisha, India E-mail: [email protected] I. INTRODUCTION present day. The remnants of the past and continuity of the traditional culture which has been possible in The traditional focus in the study of folk dance has spite of the influx of cultures from the outside have been marked, more or less, on the equilibrium been the striking features of the Odisha history. analysis and configurations in societies characterized Odisha has been made substantial contributions to by its small sizes, isolated location and homogeneous enrich the folk culture with a special identity of its of the population. Folk culture has been generally folk tradition. considered to be the study of primitive societies. The Odisha society is a continuum of tribal and non-tribal cultural program the source of entertainment has been elements even to this day. Every aspects of its socio- performed in various forms all over the world since cultural life – be it religion, language, art, painting, the dawn of the civilization. Archaeological dance drama or literature, bears a stamp of their own evidences indicate that dancing was a common culture. Odisha has as many as folk dances and pastime in Harappan period in ancient India. The literature of which most of them are identified as literary sources are also replete with the cultural primitive and they form considerable percentage of phenomenon of the folk tradition. In Yajur Veda, a the State’s total population. Though the cultural pole dancer or acrobat has been mentioned.
    [Show full text]
  • Music Industry Workshop
    Third United Nations Conference on the Least Developed Countries Proceedings of the Youth Forum MUSIC INDUSTRY WORKSHOP European Parliament Brussels, Belgium 19 May 2001 UNITED NATIONS New York and Geneva, 2003 NOTE The opinions expressed in this publication are those of the authors and do not necessarily reflect the views of the United Nations. The designations employed and the presentation of the material in this publication do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country, territory, city or area, or of its authorities, or concerning the delimitation of its frontiers or boundaries. All data are provided without warranty of any kind and the United Nations does not make any representation or warranty as to their accuracy, timeliness, completeness or fitness for any particular purposes. UNCTAD/LDC/MISC.82 i ACKNOWLEDGEMENTS This publication is the outcome of the proceedings of the Youth Forum Music Industry Workshop, a parallel event organized on 19 May 2001 during the Third United Nations Conference on the Least Developed Countries, held in the European Parliament in Brussels. Ms. Zeljka Kozul-Wright, the Youth Forum Coordinator of the Office of the Special Coordinator for LDCs, prepared this publication. Lori Hakulinen-Reason and Sylvie Guy assisted with production and Diego Oyarzun-Reyes designed the cover. ii CONTENTS Pages OPENING STATEMENTS Statement by Mr. Rubens Ricupero ............................................................................ 1 Statement by H.E. Mr. Mandisi B. Mpahlwa ............................................................... 5 Statement by Ms. Zeljka Kozul-Wright......................................................................... 7 INTRODUCTION Challenges and prospects in the music industry for developing countries by Zeljka Kozul-Wright.................................................................................................
    [Show full text]
  • Evolution and Assessment of South Asian Folk Music: a Study of Social and Religious Perspective
    British Journal of Arts and Humanities, 2(3), 60-72, 2020 Publisher homepage: www.universepg.com, ISSN: 2663-7782 (Online) & 2663-7774 (Print) https://doi.org/10.34104/bjah.020060072 British Journal of Arts and Humanities Journal homepage: www.universepg.com/journal/bjah Evolution and Assessment of South Asian Folk Music: A Study of Social and Religious Perspective Ruksana Karim* Department of Music, Faculty of Arts, Jagannath University, Dhaka, Bangladesh. *Correspondence: [email protected] (Ruksana Karim, Lecturer, Department of Music, Jagannath University, Dhaka, Bangladesh) ABSTRACT This paper describes how South Asian folk music figured out from the ancient era and people discovered its individual form after ages. South Asia has too many colorful nations and they owned different culture from the very beginning. Folk music is like a treasure of South Asian culture. According to history, South Asian people established themselves here as a nation (Arya) before five thousand years from today and started to live with native people. So a perfect mixture of two ancient nations and their culture produced a new South Asia. This paper explores the massive changes that happened to South Asian folk music which creates several ways to correspond to their root and how they are different from each other. After many natural disasters and political changes, South Asian people faced many socio-economic conditions but there was the only way to share their feelings. They articulated their sorrows, happiness, wishes, prayers, and love with music, celebrated social and religious festivals all the way through music. As a result, bunches of folk music are being created with different lyric and tune in every corner of South Asia.
    [Show full text]
  • Jagannath Kuanr the Traditions of Instrumental Music in Odisha, Is As Rich As the Cultural Traditions of Odisha
    PARIPEX - INDIAN JOURNAL OF RESEARCH | Volume - 10 | Issue - 03 |March - 2021 | PRINT ISSN No. 2250 - 1991 | DOI : 10.36106/paripex ORIGINAL RESEARCH PAPER Arts CONTRIBUTIONS OF MUSICAL INSTRUMENTS KEY WORDS: Musical, TO TRADITIONAL MUSIC OF ODISHA Tradition, Instrument, Odisha Prof.(Dr.) P.G.department Of Odissi Mardal, Utkal University Of Culture, Bhubaneswar Jagannath Kuanr The traditions of instrumental music in Odisha, is as rich as the cultural traditions of Odisha. Music of Odisha is considered more entertaining than that of the other regions of India. It has been mentioned in king Kharavela's Hatigumpha cave inscriptions that music and dance were performed then for the entertainment of the people. The CT imprints of Odisha's dance and music are found in the caves of Khandagiri and Udayagiri. Various informations about music are found described in the mythological books, like:- Swarnadri Mahodaya, Sarala Mahabharat, Kabi Kalpadrooma, Rasa Kalpadrooma, Vishnu Dharmotar Purana , Sangeeta Narayan , Sangeeta Muktabali, Abhinaya Darpan , Sangeeta Kaumudi, Sangeeta Kalpalata, Geetaprakash, Sangeetaratna etc. On the basis of facts found from the ancient ABSTRA stone- inscriptions, ancient literature of Odisha, architecture and sculptures of Odisha's ancient temples, we come to know a few things regarding the tradition of musical- instruments in Odisha. Instrumental music has much importance in the traditional Purana recitals are the evidences of Odissi music tradition. musical performance in Odisha since ancient period. The The culture of Odisha is lord sri Jagannath's culture which traditional musical instruments of Odisha have been reflects in the people of Odisha. Use of various musical contributed so as to enhance the melody of music.
    [Show full text]
  • Srejonee Art & Creations
    +91-8048606957 Srejonee Art & Creations https://www.indiamart.com/srejonee-art-creations/ Srejonee brings to you the facinating handicrafts heritage of erstwhile Bengal from ancient times and in our mythologies to pre- modern and current times people here have expresed their artistic souls through aesthetic items of their daily needs About Us India is a treasure trove of handicrafts and handmade artifacts, wherein every corner of this country has its own interpretation and expressions. Bengal, or the entirety of Eastern India, has one of the richest cultural heritage in numerous art forms, some of which are well recognized nationally and internationally but some hidden gems are yet to be discovered for the marvels that they are. Srejonee brings to you the fascinating handicrafts’ heritage of erstwhile Bengal, which once stretched from the fertile river plains of Bihar till the highlands of Tripura and lower Burma. From ancient times and in our mythologies to pre-modern and current times people here have expressed their artistic souls through aesthetic items of their daily needs. This has given birth to a unique assortment of Indian handicrafts which is unrivalled. These artifacts in their vibrancy and exquisiteness have a defining purpose and identity of being, elevating themselves from just pieces of art. Srejonee opens the door to countless untold stories behind every handicraft you buy, which are handmade, authentic and curated with love from talented artisans and our in-house experts. All of our products are innovated to suit modern day living while celebrating the elegance & beauty of their legacy. When you buy from us, you not only help preserve century old traditions, but you indulge into a love story ecosystem built on fundamentals of Make in India, No Chemical Hazards-environment friendly, No..
    [Show full text]
  • Social Anthropology of Orissa: a Critique
    International Journal of Cross-Cultural Studies Vol. 2 No. 1 (June, 2016) ISSN: 0975-1173 www.mukpublications.com Social Anthropology of Orissa: A Critique Nava Kishor Das Anthropological Survey of India India ABSTRACT Orissa is meeting place of three cultures, Indo-Aryan, Dravidian, and Munda and three ethno- linguistic sections. There are both indigenous and immigrant components of the Brahmans, Karna, who resemble like the Khatriyas, and others. The theory that Orissa did not have a viable Kshatriya varna has been critically considered by the historian -anthropologists. We will also see endogenous and exogenous processes of state formation. The Tribespeople had generally a two-tier structure of authority- village chief level and at the cluster of villages (pidha). Third tier of authority was raja in some places. Brahminism remained a major religion of Orissa throughout ages, though Jainism and Buddhism had their periods of ascendancy. There is evidence when Buddhism showed tendencies to merge into Hinduism, particularly into Saivism and Saktism. Buddhism did not completely die out, its elements entered into the Brahmanical sects. The historians see Hinduisation process intimately associated with the process of conversion, associated with the expansion of the Jagannatha cult, which co-existed with many traditions, and which led to building of Hindu temples in parts of tribal western Orissa. We notice the co-existence of Hinduisation/ peasantisation/ Kshatriyaisation/ Oriyaisation, all operating variously through colonisation. In Orissa, according to Kulke it was continuous process of ‘assimilation’ and partial integration. The tribe -Hindu caste intermingling is epitomised in the Jagannatha worship, which is today at the centre of Brahminic ritual and culture, even though the regional tradition of Orissa remaining tribal in origin.
    [Show full text]
  • List of Names Drawing Central Samman Pension Sl No
    List of Names drawing Central Samman Pension Sl no. Name State ANDAMAN AND NICOBAR 1 MRS. JAMUNA KUMARI ISLANDS 2 BOLLAM NAGALAXMI ANDHRA PRADESH 3 KOMPALLY RADHMMA W/O LATE BAANDHRA PRADESH 4 A HANUMANTHA RAO ANDHRA PRADESH 5 KALYANAPU ANASURYAMMA ANDHRA PRADESH 6 RAMISETTI VENKATA MAHA LAXMI ANDHRA PRADESH 7 LAGADAPATI CHENCHAIAH ANDHRA PRADESH 8 DAMULURI VENKATESWARLU ANDHRA PRADESH 9 N SUBHADRAMMA W/O LATE KOTEANDHRA PRADESH 10 LAGADAPATI KAMALAMMA ANDHRA PRADESH 11 LAGADAPATI NARASIMHA RAO ANDHRA PRADESH 12 LAGADAPATI PAKEERAIAH ANDHRA PRADESH 13 VUNNAM VENKATESWARLU ANDHRA PRADESH 14 VUTUKURU YASODASMMA W/O LATANDHRA PRADESH 15 J BUTCHAIAH ANDHRA PRADESH 16 AKKINENI NIRMALA ANDHRA PRADESH 17 LAGADAPATI NAGESWARA RAO ANDHRA PRADESH 18 YERNENI VENKATA RAVAMMA ANDHRA PRADESH 19 K DHNALAXMI W/O LATE BASAVAIAANDHRA PRADESH 20 RAMISETTI PEDDA VENKATESWARLANDHRA PRADESH 21 KOPPU GOVINDAMMA ANDHRA PRADESH 22 GADDE SATYANARAYANA ANDHRA PRADESH 23 NIRUKONDA KOTESWARA RAO ANDHRA PRADESH 24 KOLLI BHARATHA VENKATA ANDHRA PRADESH 25 GADDE RAGHAVAIAH ANDHRA PRADESH 26 KOTA VENKATA RAVAMMA ANDHRA PRADESH 27 CHIRUMAMILLA SATYANARAYANA ANDHRA PRADESH 28 CHERUKURI KAMALAMMA ANDHRA PRADESH 29 S SUSEELAMMA DEVI W/O LATE SU ANDHRA PRADESH 30 SURYADEVARA V KR MURTHY ANDHRA PRADESH 31 DANTALA SEETHAMMA W/O LATE DANDHRA PRADESH 32 CHAVALA NAGAMMA W/O LATE HAVANDHRA PRADESH 33 SURYADEVARA CHANDRASEKHARAANDHRA PRADESH 34 BAHUDODDA KONDAIAH ANDHRA PRADESH 35 BANDI SATYANARAYANA ANDHRA PRADESH 36 ANUMALA ASWADHA NARAYANA ANDHRA PRADESH 37 KESARI PERAMMA ANDHRA
    [Show full text]
  • CHSE, ODISHA VOCATIONAL COURSES, 2016-2018 PART – III Humanities, Home Science, Visual Arts & Performing Art Scheme Of
    Vol. III, 2016 CHSE, ODISHA VOCATIONAL COURSES, 2016-2018 PART – III Humanities, Home Science, Visual Arts & Performing Art Scheme of Studies A. Common Compulsory Subjects 1. English MIL (Alternative English / Bengali / Hindi / Odia / Sanskrit / Telugu / Urdu) 2. Environment Education, Basic Computer Education, Yoga) B. Basic Foundation Course (BFC) Economics, History, Political Science C. Part III Trade Subjects (a) Humanities (i) Textile Designing (ii) Tourism and Travel Management (b) Home Science (i) Crech and Pre-School Management (ii) Catering and Restaurant Management (c) Visual Art (i) Painting (ii) Graphic Art (iii) Applied Art (iv) Modelling and Sculpture (v) Traditional Art and Craft (d) Performing Arts (i) Chhow Dance (ii) Drama (iii) Flute / Violin / Setar (FLUIS) (iv) Hindustani Vocal (v) Odissi Vocal (vi) Odissi Dance (vii) Odissi Pakhwaj (Mardal) (viii) Tabla 1 Vol. III, 2016 D. Pattern of Course, Marks Distribution Compulsory 1st Year 2nd Year 1. English 50 Marks 50 Marks 2. MIL 50 Marks 50 Marks 3. BFC – 300 Marks BFC-I Theory 70 70 (any three subjects from Practical 30 30 the list) (If the subject has no BFC-II Theory 70 70 practical Practical 30 30 Element, the total marks is BFC-III Theory 70 70 100) Practical 30 30 4. Trade Subject – 200 Marks Trade Theory 40 Trade (Any One subjects from Paper I Paper III the list) Theory 40 Practical 60 Practical 60 Trade Theory 40 Trade Paper II Paper IV Theory 40 Practical 60 Practical 60 Total 600 600 E. (i) Duration of the Examination & Periods required : Marks Duration Theory 100 marks 3.00 Hrs 70 Marks 3.00 Hrs 60 Marks 3.00 Hrs 50 Marks 2.30 Hrs 40 Marks 2.00 Hrs Practical 60 Marks 3.00 Hrs 30 Marks 3.00 Hrs (ii) Periods required for 100 marks 180 Periods minimum in a Session ATTENTION PLEASE : Suggestions in the context of above stated course –structure are invited from all concerned.
    [Show full text]
  • E:\Review\Or-2019\Or February-M
    Odisha Review ISSN 0970-8669 “Hail Thee, O’ preceptor, World is full of sounds i.e ‘nada’. In the You are the embodiment of the human heart the abounding sentiments only get Brahma, Vishnu & Maheswar : The Trinity. stretched to the voice and when this voice gets You are the Parambrahma-The non robustness it manifests as song in a broader sense, differentiate Supreme Spirit. the muse. A thesis on music, ‘Sangeeta Ratnakar’ To you, all my obeisance & surrender.” says thus as the source of 'nada' or sound, when innermost self gets impatient to express, it inspires Introduction: the mind, the mind to fire in the body, fire to the In the whole of universal creation, man is air and this air creates power. This power strikes held as the best of it. As because he has been the permanent knot. This air makes sound through striving to express his minutest feelings of mind five outlets i.e to naval, heart, throat, head and through various means from the very beginning of mouth. Thus created sound or tone manifests tunes the civilization. Hence, literature, music, painting, which we call music. In the epic “Shreemad fine arts etc have taken definite shape and form Bhagabata” the Lord says “O, Narad ! I don’t The Role of Rhythm, Rhythmic Instrument and the Instrumentalist in the realm of Music : Hindustani Classical etc. Sushil Kumar Patnaik through human effort to bring glorification to its dwell in Vaikuntha or paradise, neither in the existence. Notwithstanding this the supplication hearts of Yogis, but I do reside there where my for truth-prosperity and beauty i.e “satya, shiba, devotees sing to my praises.” sundar” has been the main force to his supreme contemplative emotional impetus.
    [Show full text]
  • Musical Instruments
    ^^^•::.':' THE AMERICAN HISTORY AND ENCYCLOPEDIA OF MUSIC W. L. HUBBARD EDITOR IN CHIEF ARTHUR FOOTE GEO. W. ANDREWS EDWARD DICKINSON Associate Editors Special Contributors G. W. CHADWICK FREDERICK STARR FRANK DAMROSCH H. E. KREHBIEL FREDERICK STOCK EMIL LIEBLING W. J. HENDERSON Irving Squire Toledo New York Chicago a. \ fc irO'V^i^ I c^ -^ ci I- i! -O c^ 2 G rt c^ t: -a ?^ <u (u > ,^ '-^ <u -5 •*-" n o ^ ^ .^ t-, n:; OT o c '-' -Ti > ." cj bjois 'o 5 S^ ^ S -r. c^ w S^ ri, 0/5 o ~rt gj O I o >^^ 00 I— > C/5 J3 :3 r^ CO w o v^ 'C ^ ^ +-> CO o t3 ' .2 «-> OJ (U U^ CO O •-- ^^7 CO -^ fin 3 u <U o CO M j« S 2:! I> "rt Id ;n f^- rt -r; "" --^ S CO CO, o c^-;:; o ^ Oh o ^ Ci:^ o aj 4_) o _^ J^ b^ s-< i^ <j5 ^ b/)-p CO rt rt s o ?^ o ^ bjO i= .in OT C/^ < o ^ <u ._ -I-' Digitized by tine Internet Arcinive in 2011 witin funding from Boston Public Library http://www.archive.org/details/musicalinstrumenOOandr THE AMERICAN HISTORY AND ENCYCLOPEDIA OF MUSIC MUSICAL INSTRUMENT WITH INTRODUCTION BY FREDERICK STOCK AND GEORGE W. ANDREWS EDITOR IRVING SQutre; Toiedo New York Chicago Copyright 1908 by IRVING SQUIRE Entered Stationers' Hall LONDON -• CONTENTS Introduction . 1 The Development of the Orchestra 9 The Development of Musical Instruments .... 31 Musical Instruments 89 Selected Bibliography 255 INTRODUCTION INTRODUCTION George W. Andrews. The fact of the universality of musical instruments and musical expression among men will not fail to impress the attentive reader of this book.
    [Show full text]